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Chora Church
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Front view of Chora Church
Rear view of Chora Church
The Church of the Holy Saviour in Chora (TurkishKariye Mzesi,Kariye Camii,orKariye Kilisesi the Chora Museum, Mosque or Church) is considered to be oneof the most beautiful surviving examples of aByzantinechurch.[1] The church issituated in Istanbul, in the Edirnekap neighborhood, which lies in the western part ofthe municipality(belediye) ofFatih. In the 16th century, during theOttoman era, the
church was converted into amosque and, finally, it became a museum in 1948. Theinterior of the building is covered with fine mosaics and frescoes.
Contents
1 History 2 Interior
o 2.1 Narthex 2.1.1 Exonarthex 2.1.2 Esonarthex
o 2.2 Naoso 2.3 Parecclesion
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3 Notes 4 See also 5 References 6 Literature
7 External links
History
Sketch map of the church interior
Sketch map of the interior plan of the Chora Church
The Chora Church was originally built as part of a monastery complex outside thewalls ofConstantinople, to the south of the Golden Horn. Literally translated, the
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church's full name was the Church of the Holy Saviour in the Country: although"The Church of the Holy Redeemer in the Fields" would be a more natural renderingof the name in English. (Greek , h
Ekklsia tou Hagiou Stros en ti Chrai).[2] The last part of that name, Chora,referring to its location originally outside of the walls, became the shortened name of
the church. The original church on this site was built in the early 5th century, andstood outside of the 4th century walls ofConstantine the Great. However, whenTheodosius II built his formidable land walls in 413414, the church becameincorporated within the city's defences, but retained the name Chora. The name musthave carried symbolic meaning, as the mosaics in thenarthex describeChrist as the
Land of the Living( , h Chra tn zntn) and Mary, the Motherof Jesus, as the Container of the Uncontainable ( , h Chratou Achrtou).
The majority of the fabric of the current building dates from 10771081, when MariaDukaina, the mother-in-law ofAlexius I Comnenus, rebuilt the Chora Church as an
inscribed cross orquincunx: a popular architectural style of the time. Early in the 12thcentury, the church suffered a partial collapse, perhaps due to an earthquake. Thechurch was rebuilt by Isaac Comnenus, Alexius's third son. However, it was only afterthe third phase of building, two centuries after, that the church as it stands today wascompleted. The powerful Byzantine statesman Theodore Metochitesendowed thechurch with much of its fine mosaicsand frescos. Theodore's impressive decoration ofthe interior was carried out between 1315 and 1321. The mosaic-work is the finestexample of the PalaeologianRenaissance. The artists remain unknown. In 1328,Theodore was sent into exile by the usurperAndronicus III Palaeologus. However, hewas allowed to return to the city two years later, and lived out the last two years of hislife as a monkin his Chora Church.
During the last siege of Constantinople in 1453, theIcon of theTheotokosHodegetria, considered the protector of the City, was brought to Chora in order toassist the defenders against the assault of the Ottomans.[3]
Around fifty years after the fall of the city to the Ottomans, Atk Ali Paa, the GrandVizierof Sultan Bayezid II, ordered the Chora Church to be converted into a mosque
Kariye Camii. Due to theprohibition against iconic images in Islam, the mosaicsand frescoes were covered behind a layer of plaster. This and frequent earthquakes inthe region have taken their toll on the artwork.
In 1948, Thomas Whittemore and Paul A. Underwood, from the Byzantine Institute ofAmericaand the Dumbarton Oaks Center for Byzantine Studies, sponsored a
programme of restoration. From that time on, the building ceased to be a functioningmosque. In 1958, it was opened to the public as a museum Kariye Mzesi.
Interior
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The Virgin and child, painted dome of theparecclesion of Chora Church.
The Chora Church is not as large as some of the other Byzantine churches of Istanbul
(it covers 742.5 m), but what it lacks in size, it makes up for in the beauty of itsinterior. The building divides into three main areas: the entrance hall ornarthex, themain body of the church ornaos, and the side chapel orparecclesion. The buildinghas six domes: two in the esonarthex, one in the parecclesion and three in the naos.
Narthex
The main, west door of the Chora Church opens into the narthex. It divides north-south into the exonarthex and esonarthex.
Exonarthex
Mosaic of the journey to Bethlehem
Mosaic of the enrollment for taxation before Governor Quirinius
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The exonarthex (or outer narthex) is the first part of the church that one enters. It is atransverse corridor, 4 m wide and 23 m long, which is partially open on its easternlength into the parallel esonarthex. The southern end of the exonarthex opens outthrough the esonarthex forming a western ante-chamber to the parecclesion. Themosaics that decorate the exonarthex include:
1. Joseph's dream and journey to Bethlehem;2. Enrollment for taxation;3. Nativity, birth of Christ;4. Journey of the Magi;5. Inquiry of King Herod;6. Flight into Egypt;7. Two frescoes of the massacres ordered by King Herod;8. Mothers mourning for their children;9. Flight of Elizabeth, mother of John the Baptist;10. Joseph dreaming, return of the holy family from Egypt to Nazareth;
11. Christ taken to Jerusalem for the Passover;12. John the Baptist bearing witness to Christ;13. Miracle;14. Three more Miracles.15. Jesus Christ;16. Virgin and Angels praying.
Esonarthex
Mosaic of enthroned Christ with Theodore Metochitespresenting a model of hischurch
The mosaic in the lunette over the doorway to the esonarthex portrays Christ as TheLand of the Living.
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Mosaic of the Virgin Mother with child, north dome of inner narthex
Close-up of the Virgin Mother with child, dome of the parecclesion
Mosaic ofChrist Pantocrator, south dome of inner narthex
The esonarthex (or inner narthex) is similar to the exonarthex, running parallel to it.Like the exonarthex, the esonarthex is 4 m wide, but it is slightly shorter, 18 m long.Its central, eastern door opens into the naos, whilst another door, at the southern endof the esonarthex opens into the rectangular ante-chamber of the parecclesion. At itsnorthern end, a door from the esonarthex leads into a broad west-east corridor thatruns along the northern side of the naos and into theprothesis. The esonarthex has twodomes. The smaller is above the entrance to the northern corridor; the larger ismidway between the entrances into the naos and the pareclession.
1. Enthroned Christ with Theodore Metochites presenting a model of his church;2. Saint Peter;
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Saint Petermosaic1. Saint Paul;2. Deesis, Christ and the Virgin Mary (without John the Baptist) with two donors
below;3. Genealogy of Christ;4. Religious and noble ancestors of Christ.
The mosaics in the first three bays of the inner narthex give an account of the Life ofthe Virgin, and her parents. Some of them are as follows:
1. Rejection ofJoachim's offerings;2. Annunciation ofSaint Anne, the angel of the Lord announcing to Anne that
her prayer for a child has been heard;3. Meeting of Joachim and Anne;4. Birth of the Virgin Mary;5. First seven steps of the Virgin;6. The Virgin given affection by her parents;7. The Virgin blessed by the priests;8. Presentation of the Virgin in the Temple;9. The Virgin receiving bread from an Angel;10. The Virgin receiving the skein of purple wool, as the priests decided to have
the attendant maidens weave a veil for the Temple;11. Zechariahpraying, when it was the time to marry for the Virgin, High Priest
Zechariah called all the widowers together and placed their rods on the altar,praying for a sign showing to whom she should be given;
12. The Virgin entrusted to Joseph;13. Joseph taking the Virgin to his house;14. Annunciation to the Virgin at the well;15. Joseph leaving the Virgin, Joseph had to leave for six months on business and
when he returned the Virgin was pregnant and he is suspicious of that.
Naos
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Mosaic of theKoimesis in the Naos
The central doors of the esonarthex lead into the main body of the church, the naos.The largest dome in the church (7.7 m diameter) is above the centre of the naos. Two
smaller domes flank the modestapse: the northern dome is over theprothesis, whichis linked by short passage to thebema; the southern dome is over the diaconicon,which is reached via the parecclesion.
1. Koimesis, the Dormition of the Virgin. Before ascending to Heaven, her lastsleep. Jesus is holding an infant, symbol of Mary's soul;
2. Jesus Christ;3. Theodokos, the Virgin Mary with child.
Parecclesion
View into theparekklesion
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The Anastasis fresco in theparekklesion of the Chora Church.
To the right of the esonarthex, doors open into the side chapel, orparecclesion. Theparecclesion was used as a mortuary chapel for family burials and memorials. Thesecond largest dome (4.5 m diameter) in the church graces the centre of the roof of the
parecclesion. A small passageway links the parecclesion directly into the naos, and off
this passage can be found a small oratory and a storeroom. The parecclesion iscovered in frescoes:
1. Anastasis, the Resurrection. Christ, who had just broken down the gates ofhell, is standing in the middle and pulling Adam and Eve out of their tombs.Behind Adam stand John the Baptist, David, and Solomon. Others arerighteous kings;
2. Second coming of Christ, the last judgment. Jesus is enthroned and on bothsides the Virgin Mary and John the Baptist (this trio is also called the Deesis);
3. Virgin and Child;4. Heavenly Court of Angels;
5. Two panels of Moses.
Notes
1. ^ Ousterhout2. ^ and therefore sometimes incorrectly referred to as "Saint Saviour"3. ^ Van Millingen
See also
Wikimedia Commons has media related to: Chora Church
Icon of the Hodegetria Monastery of the Panaghia Hodegetria Church of the Virgin Pammakaristos
References
Van Millingen, Alexander(1912).Byzantine Churches of Constantinople.
London: MacMillan & Co.
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Ousterhout, Robert (2002). The Art of the Kariye Camii. London-Istanbul:Scala. ISBN975-6899-76-X.
Literature
Chora: The Kariye Museum. Net Turistik Yayinlar (1987). ISBN 978-975-479-045-0
Feridun Dirimtekin. The historical monument of Kariye. Trkiye Turing veOtomobil Kurumu (1966). ASIN B0007JHABQ
Semavi Eyice.Kariye Mosque Church of Chora Monastery. Net TuristikYayinlar A.S. (1997). ISBN 978-975-479-444-1
elik Glersoy.Kariye (Chora). ASIN B000RMMHZ2 Jonathan Harris, Constantinople: Capital of Byzantium.
Hambledon/Continuum (2007). ISBN 978-1-84725-179-4 Krannert Art Museum.Restoring Byzantium: The Kariye Camii in Istanbul
and the Byzantine Institute Restoration. Miriam & IRA D. Wallach ArtGallery (2004). ISBN 1-884919-15-4
Robert Ousterhout (Editor), Leslie Brubaker (Editor). The Sacred Image Eastand West. University of Illinois Press (1994). ISBN 978-0-252-02096-4
Robert G. Ousterhout. The Architecture of the Kariye Camii in Istanbul.Dumbarton Oaks Research Library and Collection. (1988).ISBN 978-0-88402-165-0
Saint Saviour in Chora. A Turizim Yayinlari Ltd. (1988). ASIN B000FK8854 Cevdet Turkay.Kariye Mosque. (1964). ASIN B000IUWV2C Paul A. Underwood. The Kariye Djami in 3 Volumes. Bollingen (1966). ASIN
B000WMDL7U Paul A. Underwood. Third Preliminary Report on the Restoration of the
Frescoes in the Kariye Camii at Istanbul. Harvard University Press (1958).ASIN B000IBCESM
Edda Renker Weissenbacher.Kariye: The Chora Church, Step by Step. ASINB000RBATF8
External links
Media related to Chora Churchat Wikimedia Commons
Columbia University | Restoring Byzantium | The Kariye Camii in Istanbuland the Byzantine Institute Restoration
Byzantium 1200 | Chora Monastery Interior and exterior pictures in http://rubens.anu.edu.au Photos with explanations visit infoKariye (Chora) Museum, Istanbul, Turkey Travel Planner by Tom
Brosnahan. BYZANTINE MOSAICS OF CHORA MONASTERY Chora Museum Website
Coordinates: 410152N 285621E
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